Film industry 'needs thematic freedom'

Film industry 'needs thematic freedom'

By Wisnu Pramudya

JAKARTA (JP): Fatahillah promises to be one of the finest
presents awaiting Jakarta on its 470th anniversary celebration
this June 22.

The film epic, which premieres on June 11 and goes into city-
wide release in Jakarta on June 20, is the work of Chaerul Umam
and Imam Tantowi, two of the country's top directors.

It tells of Fatahillah, a young ulema in the 16th century who
lead the fight to oust the Portuguese from what is today Jakarta.

Much went in to the making of the movie. Its budget of Rp 3 billion
(US$1,250,000), with the Jakarta city administration footing the
bill, is high for Indonesian film standards. Its entire crew,
particularly its directors, were burdened by expectations that
Fatahillah would be the spark to ignite the dormant Indonesian
film industry.

This was only to be expected amid a local film market almost
entirely dominated by cheap, tawdry vehicles. Glance up at any
movie marquee and titles like Tergiur Permainan Sex (Drooling
Over Sex), Ecstasy dan Pengaruh Sex (Ecstasy and Sexuality),
Skandal Terlarang (Forbidden Scandal) and Gadis Binal (Wanton
Girl) reveal the depths the industry has sunk.

Tantowi is known for a string of action movies such as Saur
Sepuh (The Sayings of the Wise) but Chaerul is renowned for his
courage in making films with unconventional themes. In 1977, he
made Al Kautsar, which depicts a young religious teacher's
struggle to adapt to the mores of a small village. It drew
critical acclaim, attracted moviegoers and won the Best Socio-
culture Film award at the Asian Film Festival in the same year in
Bangkok.

Chaerul, better known as Mamang, also made Bintang Kejora,
about how an adventurous rainmaker turns upside down the life of
a village girl. His Gadis Maraton (Marathon Girl) was a more
mainstream tale of a simple girl who shines through athletics.

Three of his 20-odd films are notable for strong Islamic
themes. Many critics consider his Titian Serambut Dibelah Tujuh
(The Path of the Believers) from 1983 to be his masterpiece. But
Chaerul's personal preference is Nada and Dakwah (The Tune and
Propagation), which made full use of the popularity of its stars,
Moslem singer Rhoma Irama and preacher Zainuddin M.Z.

Critics praise Chaerul for his talent in art direction and his
ability to convey messages through non-verbal means. He spoke to
The Jakarta Post recently about the making of Fatahillah and the
status of the Indonesian film industry.

Question: What makes Fatahillah an interesting movie?

Answer: This film is about the history of a young ustadz
(Moslem teacher) who led a war. A military commander waging a war
is probably an ordinary thing. But this is a story about an
ustadz, an ulema. It's probably going to be compared with Anthony
Quinn's character of Omar Mochtar in the Lion of the Desert, a
Libyan ulema who led his people in their fight against the
Italian colonial forces.

Fatahillah was still a young man, not even forty yet. This is
about a movement of the young people while their elders were
still in power. The king of Demak (the largest Islamic kingdom at
the time) did not have the initiative to mount an uprising
against the Portuguese.

Q: You have said this was your most difficult movie...

A: It posed a great challenge for me in art direction, especially
because it is action packed. Fortunately, I made it together with
Tantowi. For him, making a colossal action movie is a piece of
cake.

Taking good shots of fight scenes was complicated. It involved
many retakes, which made me impatient. I prefer to apply myself
to setting up dramatic scenes featuring arguing and quarreling.

In Fatahillah, the fight scenes took more than a mere one or
two minutes, sometimes lasting up to 20 minutes. That's what
stressed me out. Maybe it was no big deal for Tantowi.

Q: Was it difficult making a film on which others have pinned
their hopes for reviving the industry?

A: Yes, of course. Eventually, however, I stopped caring. People
know me already. They know my capabilities. No matter how good I
am, (my pictures) are not going to be that extraordinary.

But full-scale promotion is important, that's true. I think
that one of the causes of the slump in our film industry is poor
promotion. But it's just one cause.

Q: What do you consider the major cause of the slump?

A: Competition. We lost out in competition to American films.

Q: Not because of business politics?

A: I'm not sure there's any such thing as (business politics).
Besides losing out in the competition in film technology, we were
defeated in (choosing) themes. American directors have greater
freedom to choose themes for their movies, while we limp behind.

Before the onslaught of American films into Indonesia in the
early 1990s, we could still compete. There was also protection of
the nation's film industry at the time.

But then they (the United States) threatened they would bar
Indonesian textile exports unless their films could enter
Indonesia. We had to give in for the sake of the textile trade.
We haven't had the time to recover even as they (U.S. made films)
become increasingly dominant.

Q: Is there any link between attempts to revive the industry and
the epics that directors now choose to make?

A: I'm not so sure. This particular picture took a great deal of
funding to produce. It's here because the city administration
lent a hand. Otherwise, where could you find a private company
willing to invest Rp 3 billion for a movie?

Q: Besides history, what other themes do you think are good
enough to adopt?

A: Islamic themes. They have an obvious market, as 90 percent of
our people are Moslems. We have a good market for Islamic movies.
When they see something which is close to their lives, which is
Islamic, people find it easy to identify.

I believe directors will strive to create something that
communicates well if they themselves believe that its theme is
close to their own life.

I was raised in Islamic surroundings. In addition to (feeling)
close to the themes, there's also business. Out of my 20 films,
three were Islamic and sold well.

Q: But aren't pornography and violence the selling points of
Indonesian movies today?

A: That's because of the competition, too. They (the directors
and producers) think that if they have to lose out in competition
with American films, why not just go all out and make sex
pictures.

But in general, our audio-visual business has become a mess,
morally degrading the art. It's alarming. Ecstasy, violence,
promiscuity, they are all disseminated by our broadcast world.

Q: The government has the most power to control dissemination of
themes. What can artists like you do?

A: The National Advisory Film Council (BP2FN) is open to input.
It usually invites artists to give suggestions on issues of
commercial consideration, education and production technology.

In our effort to fight pornography, for instance, we suggested
that a regulation be introduced so that films get to be screened
not only at movie houses, but also in cheap, mobile cinemas
called layar tancap. The layar tancap is a world unto its own and
is enjoyed widely in villages. If someone produces and screens a
porn flick, (the rural) people would be outraged.

We also seek cooperation with state-owned banks to provide
loans for film production. We encourage the making of quality
films for international festivals, which needs to be helped by
improvements in human resource development.

Q: How do you feel about the prevalence of sleazy films?

A: I understand that they (the producers) are only doing
business. But if this country condones such business practices,
what can we do? It's not only about films. Our country and our
government provide a space for people like that, they provide
places for...commercial sex, for people to get drunk.

What I really wish to do is counter the trend. We can't
prevent the current situation because those governing the country
allow it. Do you think that's what they mean by the Pancasila
ideology?

If I see something that I believe is negative, I wouldn't just
stew about it. I'd do something to counter it.

Q: What countries protect their film industries sufficiently?

A: Only a few countries have survived the onslaught of American
films. Those which did had their own reasons. Iran, for instance,
protects its film industry for political reasons, but also
cultivates its arts institutes at the same time. I've never been
there, but Iranian films often win awards in international
festivals. China is like that too. The two countries send their
young people in the film industry to study in America and France.

Hong Kong, too. In addition to sending its young people to
film schools in America, it has the benefits of an international
network of Chinese people, so that its film marketing is
supported by a strong ethnic sentiment.

In Hong Kong, American films usually get the sixth or seventh
billings. Those that were successful at the box office were
always local productions, because Hong Kong is able to create
films which are on par with American movies.

The Philippines survived by allowing pornography. Wow. I saw a
Filipino picture in a respected film festival. Oh Allah!. And
that was the best picture that the country sent. The audience
started yelling in outrage. (The movie) was about a sex worker's
live show.

Q: Why hasn't Indonesia been able to survive?

A: Because there's no clear policy here, something that protects
(the industry) and is free from other vested interests.

But even if we wished to protect the industry, it's too late
now. What we can still do is accelerate the education of our film
workers. Send them abroad. Strengthen our own arts institutes.

Q: What is the best result we can hope for with American films
dominating the scene?

A: The freedom to explore themes. For instance, surely someday we
can make films about the lives of corrupt people. The audience
would just love it. Like Serpico.

Or we could probably make a film about Eddy Tansil, which also
includes the portrayal of collusion. Let there be no
restrictions. That should be interesting.

Q: Who can exercise effective control over films?

A: The public. The press. This can be done through the
Indonesian Consumers Organization.

Q: Do you see yourself becoming more religious in your filmwork?

A: I see my films as declining (in their religiosity). Al-Kautsar
was my second film. I should have gone on and produced films with
stronger Islamic themes.

The problem is the opportunities are declining. The backers of
our film industry are not usually knowledgeable on how
interesting Islamic themes can be. In the end, I make movies for
the sake of continuity (of my work) only, so that I don't fade
away.

Actually, my current works have placed me in a better working
environment. I know now that not only the film has to have
stronger Islamic values, but the process of its creation and the
people involved in it have to be good as well. That's what I
remember all the time.

The notorious vices of film crews of gambling, drinking and
promiscuity did not occur on the Fatahillah set. During the four
months of filming, we filled our spare time by inviting Moslem
teachers and organizing readings from the Koran.

Praise Allah, these affected many of us so much that it was
the film crew that eventually demanded that the readings be
continued.